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  4. The New Superman O.S.T.: An In-Depth Analysis

  • The New Superman O.S.T.: An In-Depth Analysis

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    P.S.: Notice the arpeggiated loops?... That's  how "very hard work" it is to create exciting, new, passionate and dramatic soundtracks today, without needing to know anything about melody, harmony, form, notation or - well - music in general. So long as you've got the magic!

    (Tip: Mastery of the piano-roll is a key ingredient)
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     I love your internet troll spirit. It is amazing! [Y] [H]
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    @ricardojvc6 said:

     I love your internet troll spirit. It is amazing! 

    I keep mentioning to Erik that films today are made for morons. That's how you make money. You make violent films with loud noises and smart talk no more than a few words at a time. This is all about attention deficit problems that the average person has today. Therefore, using the art of logic to take this further - the music has to be the same. You cannot write taxing scripts or taxing music to go with loud noise and so called action on the screen. Most imbeciles spend a lot of time on forums - not this one fortunately - talking about Superman or Batman films and so on. These are the kind of people that think you can shoot someone in the street, then give them a magic potion so they get up and run round again.

    This is what you need to understand.

    Hey Erik!!!! Played in a senior golf competition yesterday. Came 3rd. [^]
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    Just had a thought. You can write texting scripts and text in a score:

    hahaha see what I did there![8-|]
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    Congratulations Paul. Your handicap must be a lot lower than mine... Can you read piano-roll as well as I can though? (You're probably a lot better at that too).

    Die Hard, Rambo, Star Wars Prequels, and plenty of other violence c u m street-level one-liner movies, have been scored from professionally, up to very well, all these years. Or do you think these talents today would have scored Dangerous Liaisons or A Passage to India any differently than they would Fast and Furious?

    I may have misrepresented myself all these posts. I am not biting heads off because film music these days is not great. That would only be lamentable. I am murderous because film music today is not even adequate or professional, and crushingly incommensurate with the stratospheric budgets of today's blockbusters. I am expectorating right in the faces of directors/producers that require such aural abominations for their final reels (music that makes you reel, to be sure).

    The qualities that Bill keeps extolling and annotating in every post are Chinese to most """""""colleagues""""""" today. Dramatic sense, orchestration, harmony, variety, etc. Antiquated thinking! 

    Piano-roll virtuosity, ability to tweak a knob, ability to cut and paste from INaction Strings, or create a template in a sequencer and get MIDI from IAC; these are the skills that define a professional film composer today. Tasks which Korngold, Herrmann, Williams, and Morricone would be outright incompetent to perform.

    If only someone could convince H.Z. and the trillion other untalented, untrained, uneducated, uncultured, unworthy spiccato/Taiko cloneposers, that writing some puerile themes/chords and a bassline under them, these are not anywhere near enough to generate or constitute a 90mins. orchestral score. A pop song yes; a symphonic score, no! You simply cannot artificially (and that's a kind word for what they do) augment such subatomic rudiments to a galactic symphonic work with any kind of musical success. The gaps and the seams are just as macrocosmic and excruciatingly prominent (not merely evident). You hear that, chugga-chuggers?... Give it up; before you really bring the New Dark Ages down on us. A coma patient's encephalogram is NOT a valid musical block upon which to build a track.

    P.S.: I am having crazy Sibelius bug-problems for a few days now while I have to feverishly finish a work to send away. So that hasn't helped my mood...
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    You may have misrepresented yourself in these posts? [:'(][:'(] (crying with laughter here).

    My handicap is 13 these days Erik. Gone up from 6 due to injury. I tried water polo but had 2 ponies drown under me. 

    I keep telling you Erik that the films for the most part today, do not warrant great scores. These are mostly not great films. Like I said somewhere else - the Rambo score is pure vintage Goldsmith - but the film is puerile trash. That's rare. I started watching a film last night (due to feeling ill) and got just past the credits and into 2 minutes of scene 1 and then wiped it from the hard drive due to the score. Couldn't stand to listen to it for 130 minutes. Won't say what film just in case the writer comes here and don't want to hurt any feelings. Well known actors too. Poor script.  A lot of scores can drive you mad as you get older.

    Watched the highly acclaimed Tinker Tailor ect (the recent film version) the other night. Thought is was poor. Thought the score was a mish mash. Disjointed. The way film goers today like things. Quick scenes. Little as possible dialogue. Disappointed. Great actors can't cut it unless they have the material. Not the book btw. The book is very good. It looked to me like they fucked about with it all for modern audience preferences.

    In actual fact, when you talk about Herrmann - he was actually quite minimal a lot of the time. Most people remember his opening titles.

    When you say piano roll - I'm not sure what that is. Is that like the piano roll you get in Logic? 
  • PaulP Paul moved this topic from Orchestration & Composition on